"Trespass" is more pastoral and low-key than the Genesis albums that followed it. The interplay between guitarist Anthony Phillips and bassist Mike Rutherford finds the group at its folkiest and most subdued. Tony Banks hadn't yet turned to the synthesizer. Peter Gabriel had not yet reached the heights of poetic socio-political broadside that would mark such albums as "Foxtrot". The anomaly here is "The Knife", a gloriously bombastic track full of classical motifs, thundering riffs and rhythms, and a strong anti-war message. It would become one of the most-loved early Genesis tunes. Drummer John Mayhew might be the Pete Best of prog-rock, as he was Genesis's original drummer, ultimately replaced by future bandleader Phil Collins. On this, Mayhew's final recording with Genesis, he shows taste and restraint, laying out for long sections while the sonic tapestries of the guitars and keyboards unfold. Though not an essential pick in the Genesis catalogue, "Trespass" is a satisfying snapshot of this important band's formative development.

After Peter Gabriel departed to pursue a solo career, drummer Phil Collins took on the mantle of lead vocalist. On this album, they reverted to the English eccentricity of "Selling England By The Pound", rather than the more angular postmodern sounds of "A Lamb Lies Down On Broadway". Although it may not be as immediate as "Selling England..." it showcases the band at the height of their musical prowess.

Celebrate the 15th anniversary of “500 Days of Summer” with the beloved soundtrack that has stood the test of time. Featuring a curated selection of indie and alternative hits from iconic artists like The Smiths, Regina Spektor, Daryl Hall & John Oates, Simon & Garfunkel and more, this soundtrack serves as a journey through the highs and lows of love and self-discovery. Relive the magic of this soundtrack as it continues to stand out as a vital component of the film's enduring legacy.

TRACK LISTING

"A Story Of Boy Meets Girl" - Mychael Danna And Rob Simonsen
"Us (2005 Remaster)" - Regina Spektor
"There Is A Light That Never Goes Out" - The Smiths
"Bad Kids" - Black Lips
"Please, Please, Please, Let Me Get What I Want" - The Smiths
"There Goes The Fear" - Doves
"You Make My Dreams" - Daryl Hall & John Oates
"Sweet Dispositions" - The Temper Trap
"Quelqu'un M'a Dit" - Carla Bruni
"Mushaboom" - Feist
"Hero" - Regina Spektor
"Bookends" - Simon & Garfunkel
"Vagabond" - Wolfmother
"She's Got You High" - Mumm-Ra
"Here Comes Your Man" - Meaghan Smith
"Please, Please, Please, Let Me Get What I Want" - She & Him

Classic 1971 album from one of rock's most successful bands. From their progressive rock beginnings to their commercial superstardom, Genesis created some of the most challenging, creative and rewarding albums of their generation.

If one had to pare the prog-rock story down to a handful of essential albums, this would undoubtedly be one of them. "Selling England By The Pound" was the culmination of all that Genesis had been striving for since their late - 60s inception, the refinement of the vision that developed on "Trepass", "Nursery Cryme", and "Foxtrot". The fusion of a complex classical mind with an electrified rock heart and pastoral folk spirit defined Genesis' anatomy, and never more effectively than on "Selling England..".

Peter Gabriel's startlingly unpretentious tale-spinning is at its best on "The Battle of Epping Forest". Tony Banks's elegant, sophisticated keyboard work is a vital element of nearly every tune, and the electric/acoustic guitar tapestry woven by Steve Hackett and Mike Rutherford is the perfect icing on the cake. Somewhat anomalous but entirely welcome is the Gabriel-era band's catchiest, quirkiest song "I Know What I Like (In Your Wardrobe)", the tale of a somewhat daft gardener. Phil Collins's lead vocal on the gorgeous acoustic ballad "More Fool Me" paints the shape of things to come. If you only buy one Genesis album, make it this one.

"Wind And Wuthering" followed quickly on from "A Trick Of The Tail" and followed a similar English eccentrics path as they began to mould a new post-Gabriel sound. Although not far removed from "A Trick..." there are slight glimmers of the direction the band would take in the years to come. 

"Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound - which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it." - Allmusic.

"Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals.

This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album." Allmusic.

"Duke showcased a new Genesis - a sleek, hard, stylish trio that truly sounded like a different band from its first incarnation - but Abacab was where this new incarnation of the band came into its own. Working with producer Hugh Padgham, the group escalated the innovations of Duke, increasing the pop hooks, working them seamlessly into the artiest rock here. And even if the brash, glorious pop of "No Reply at All" - powered by the percolating horns of Earth, Wind & Fire, yet polished into a precise piece of nearly new wave pop by Padgham - suggests otherwise, this is still art rock at its core, or at least album-oriented rock, as the band works serious syncopations and instrumental forays into a sound that's as bright, bold, and jagged as the modernist artwork on the cover. They dabble in other genres, lacing "Me and Sarah Jane" with a reggae beat, for instance, which often adds dimension to their sound, as when "Dodo" rides a hard funk beat and greasy organ synths yet doesn't become obvious; it turns inward, requiring active listening. Truly, only "No Reply at All," the rampaging title track (possibly their hardest-rocking song to date), and the sleek and spooky "Man on the Corner" (which hides a real melancholy heart underneath its glistening surface) are immediate and accessible -- although the Mockney jokes of "Who Dunnit?" could count, it's too much of a geeky novelty to be pop. The rest of Abacab is truly modern art rock, their last album that could bear that tag comfortably." - AllMusic.

"If And Then There Were Three suggested that Genesis were moving toward pop, Duke is where they leaped into the fray. Not that it was exactly a head-first leap: the band may have peppered the album with pop songs, but there was still a heavy dose of prog, as the concluding "Duke" suite made clear. This is modernist art rock, quite dissimilar to the fragile, delicate Selling England by the Pound, and sometimes the precision of the attack can be a little bombastic. Nevertheless, this is a major leap forward in distinguishing the sound of Genesis, the band, and along with a new signature sound come pop songs, particularly in the guise of "Misunderstanding" and "Turn It on Again." The first is a light, nearly soulful, heartache song, the latter is a thunderous arena rocker, and both showcase the new version of Genesis at its absolute best. The rest of the record comes close to matching them." - Allmusic.

"Moments of Genesis are as spooky and arty as those on Abacab - in particular, there's the tortured howl of "Mama," uncannily reminiscent of Phil Collins' Face Value, and the two-part "Second Home by the Sea" - but this eponymous 1983 album is indeed a rebirth, as so many self-titled albums delivered in the thick of a band's career often are. Here the art rock functions as coloring to the pop songs, unlike on Abacab and Duke, where the reverse is true. Some of this may be covering their bets - to ensure that the longtime fans didn't jump ship, they gave them a bit of art - some of it may be that the band just couldn't leave prog behind, but the end result is the same: as of this record, Genesis was now primarily a pop band. Anybody who paid attention to "Misunderstanding" and "No Reply at All" could tell that this was a good pop band, primarily thanks to the rapidly escalating confidence of Phil Collins, but Genesis illustrates just how good they could be, by balancing such sleek, pulsating pop tunes as "That's All" with a newfound touch for aching ballads, as on "Taking It All Too Hard." They still rocked - "Just a Job to Do" has an almost nasty edge to its propulsion - and they could still get too silly as on "Illegal Alien," where Phil's Speedy Gonzalez accident is an outright embarrassment (although in some ways it's not all that far removed from his Artful Dodger accent on the previous album's "Who Dunnit?"), and that's why the album doesn't quite gel. It has a little bit too much of everything - too much pop, too much art, too much silliness - so it doesn't pull together, but if taken individually, most of these moments are very strong, testaments to the increasing confidence and pop power of the trio, even if it's not quite what longtime fans might care to hear." - Allmusic.

Morrissey's live album, Beethoven Was Deaf, which was recorded during the Your Arsenal tour in Paris '93, has been remastered at Abbey Road Studios and is now reissued for the first time since its original release in 1993. 

TRACK LISTING

1. You're The One For Me, Fatty
2. Certain People I Know
3. The National Front Disco
4. November Spawned A Monster
5. Seasick, Yet Still Docked
6. The Loop
7. Sister I'm A Poet
8. Jack The Ripper
9. Such A Little Thing Makes Such A Big Difference
10. I Know It's Gonna Happen Someday
11. We'll Let You Know
12. Suedehead
13. He Knows I'd Love To See Him
14. You're Gonna Need Someone On Your Side
15. Glamorous Glue
16. We Hate It When Our Friends Become Successful

Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is a brand new live album from London’s Alexandra Palace.

Sonically spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.

Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983 debut ‘Power, Corruption and Lies’.

Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12 inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a Joy Division mini set to end.

STAFF COMMENTS

Barry says: This superb set from Alexandra Palace sees New Order in peak form, and perfectly captures the raw energy and unbelievable musicianship of this legendary band. A perfect mix of older material and new, with all the hits being perfectly placed throughout. Presented in gorgeous triple LP, double CD and even one format with a blue ray of the show! Essential.

TRACK LISTING

2CD Set
CD 1:
1. Introduction
2. Singularity
3. Regret
4. Love Vigilantes
5. Ultraviolence
6. Disorder
7. Crystal
8. Academic
9. Your Silent Face
10. Subculture
CD 2:
1. BLT
2. Vanishing Point
3. Waiting For The Sirens Call
4. Plastic
5. Perfect Kiss
6. True Faith
7. Blue Monday
8. Temptation
9. Atmosphere
10. Decades
11. Love Will Tear Us Apart

2CD/ BluRay
2CD Tracklisting As Above
BluRay (Film)
1. Introduction
2. Singularity
3. Regret
4. Love Vigilantes
5. Ultraviolence
6. Disorder
7. Crystal
8. Academic
9. Your Silent Face
10. Tutti Fruitti
11. Subculture
12. BLT
13. Vanishing Point
14. Waiting For The Sirens Call
15. Plastic
16. Perfect Kiss
17. True Faith
18. Blue Monday
19. Temptation
20. Atmosphere
21. Decades
22. Love Will Tear Us Apart

3LP Set
LP 1 / Side 1
Introduction
Singularity
Regret
Love Vigilantes
Ultraviolence
LP 1 / Side 2
Disorder
Crystal
Academic
Your Silent Face
LP 2 / Side 1
Sub Culture
BLT
Vanishing Point
LP 2 / Side 2
Waiting For The Sirens’ Call
Plastic
Perfect Kiss
LP 3 / Side 1
True Faith
Blue Monday
Temptation
LP 3 / Side 2
Atmosphere
Decades
Love Will Tear Us Apart

Pink Floyd Live At Knebworth 1990 for the first time on CD, double vinyl and digital platforms. This headline show was part of the star-studded 1990 Silver Clef Winners performance at Knebworth House, Hertfordshire that saw Pink Floyd topping the all-star bill that included Paul McCartney, Dire Straits, Genesis, Phil Collins, Mark Knopfler, Robert Plant (with Jimmy Page), Cliff Richard, Eric Clapton and Tears For Fears. Around 120,000 music fans saw these giants of rock appear on the hallowed stage of Knebworth, all in aid of the Nordoff Robbins charity, profits from which went towards setting up the BRIT School. The concert was broadcast globally on MTV.

This stunning live concert features many of the bands best known songs including Comfortably Numb, The Great Gig In The Sky, and Wish You Were Here. Alongside David Gilmour, Nick Mason and Richard Wright, the album also features original The Great Gig In The Sky vocalist Clare Torry, plus guest musicians including sax player Candy Dulfer and keyboard player and composer Michael Kamen.

David Gilmour and Andy Jackson have remixed the audio from this iconic concert featuring all seven tracks performed on the day, and the album features new artwork shot by Floyd collaborator Aubrey ‘Po’ Powell of Hipgnosis and designed by Peter Curzon of Storm Studios. The concert, previously unreleased until it appeared on 2019’s Later Years box set, is now available as CD or double Vinyl set for the first time as a stand-alone album.

TRACK LISTING

Side A

1 Shine On You Crazy Diamond, Parts 1-5
2 The Great Gig In The Sky

Side B

1 Wish You Were Here
2 Sorrow

Side C

1 Money

Side D

1 Comfortably Numb
2 Run Like Hell

20th May, 2016 marks forty years to the day that David Bowie's first ever best-of compilation, including songs from 1969 to 1976, CHANGESONEBOWIE was released. To mark this anniversary the album has now been reissued.

TRACK LISTING

1. Space Oddity (2015 Remastered Version)
2. John, I'm Only Dancing (Sax Version) [2012 Remastered Version]
3. Changes (2015 Remastered Version)
4. Ziggy Stardust (2012 Remastered Version)
5. Suffragette City (2012 Remastered Version)
6. The Jean Genie (2013 Remastered Version)
7. Diamond Dogs (2016 Remastered Version)
8. Rebel Rebel (2016 Remastered Version)
9. Young Americans (2016 Remastered Version)
10. Fame (2016 Remastered Version)
11. Golden Years (2016 Remastered Version)

Michael Nyman's collaboration with the 'Indian Masters', namely U Shrinivas, Rajan and Sajan Misra is, as the Hindi word "Sangam" so aptly describes, a 'meeting point' or a 'coming together'. This recording is the culmination of a two-year odyssey composer Nyman began with a visit to India in 2000. It had a profound influence on him and these tracks are a labour of love mixing Nyman's minimalist / string quartet work with Indian mandolin and the vocal improvisations of the Misra brothers.

"Cosmopolitan Bloodloss" is taken from the excellent Glassjaw album "Worship And Tribute" but also features two non album tracks and a video-enhanced section.

Trapt have developed from playing support to the likes of Papa Roach and Nickelback into one of the upcoming acts of the nu-metal / hard rock circuit. Featuring twelve original songs ranging from the evocative "Echo" and the blistering "Still Frame" to the massive US hit single "Headstrong", they're a band who will appeal to those amongst you who like The Used, Rage Against The Machine and the Red Hot Chilli Peppers.

Disturbed's latest "Believe" is both a consolidation and an evolution on their earlier recordings. It's muscular, confrontational power rock that made "The Sickness" so infectiously exciting, but twists things just enough to make the second time sounds as fresh as the first.

43 classic soul tracks from the 'Queen Of Soul', Aretha Franklin. Any retrospective gives you the chance to reacquaint yourself with an artist you may only know a few songs by. This is a superb collection to discover the supreme female vocalist in the history of soul, from gospel to groove from tear jerking ballad to funky dancefloor fillers, she never gives a bad performance. One of the greatest singers of all time.

Twenty three bluegrass gems featuring Emmylou Harris, John Prine, the Cox Family, Carlene Carter and loads of top notch C&W acts as well as cutting edge roots musicians.